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Este trabajo examina la producción literaria y cultural chicana/méxicosudoesteña de las distintas épocas coloniales del sudoeste: la época colonial española (1521-1821), la época colonial angloamericana (1848-1965) y la época poscolonial (1965-presente) para ver hasta qué punto siguen vigentes los legados coloniales dentro de un contexto contemporáneo. Avanzamos la hipótesis que, de la larga residencia histórica y geográfica de las personas hispanomexicanas en el sudoeste, se han producidos textos simbólicos donde se registran dos o más discursos residuos cuyo origen es una ideología dominante. El capítulo 1 plantea y detalla la hipótesis, reseña los numerosos estudios existentes, describe el marco teórico y da la división en capítulos. En el capítulo 2, se da de manera detallada el método crítico: la definición del colonialismo clásico según la teoría de Mario Barrera, la relación colonizador/colonizado aportada por Albert Memmi y los conceptos del tercer espacio híbrido, el mestizaje y el imaginario decolonial asociados con la época poscolonial como ofrecidos respectivamente por Homi Bhabha, Rafael Pérez-Torres y Emma Pérez. El capítulo 3 ofrece un análisis de la época colonial española vía dos obras nuevomexicanas: el poema épico Historia de la Nueva México (1610) de Gaspar Pérez de Villagrá y el drama Los comanches (c.1779) de anónimo. El capítulo 4 trata la colonización angloamericana en las obras The Squatter and the Don (1885) de María Amparo Ruiz de Burton y Dew on the Thorn (escrita en los 1940; publicada en 1997) de Jovita González de Mireles. El capítulo 5 examina la época poscolonial vía la obra Los muertos también cuentan (1995) de Miguel Méndez. Una lectura de la literatura chicana/méxicosudoesteña revela la presencia de varios personajes típicos asociados cada uno a una diferente época histórica desde el conquistador español hasta un mexicano recién inmigrado, quienes no han podido evadir la correspondiente presencia de un grupo dominante u colonizador. Con base en una investigación de las cinco obras seleccionadas, se muestra cómo las relaciones coloniales se forman y se transforman y luego se manifiestan en un contexto contemporáneo, desplazando por ende nuestro entendimiento de las relaciones coloniales como un simple proyecto binario de dominación y subordinación.
ContributorsFonseca, Vanessa (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos Javier (Committee member) / Volek, Emil (Committee member) / Horan, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arizona has become infamous for its strong nativist and anti-immigrant climate, gaining national and international attention for legislation and policing practices that are in violation of civil and human rights. Despite the grave injustices perpetuated against migrants and communities of color, they exist in an environment of acceptance. Applying Critical Pedagogy, Critical Race Theory/ Latina(o) Critical Race Theory, and Chicana Feminist epistemologies, this study interrogates the polarized discourse that has intensified in Arizona, within the immigration movement and across its political spectrum, from 2006 to 2008. I present an auto-ethnographic account, including use of participant action research, narrative, and storytelling methods that explores ways in which resistance is manifested and the implications for creating sustainable social change. I argue that legislation, raids, and local immigration enforcement tactics reinforce the dominant group's fear of the "other," resulting in micro and macro aggressions that legitimize racial profiling and help safeguard and fortify White privilege through the fabrication of racialized identities. Simultaneously, organizing strategies and discourse of immigrant rights advocates reflect an entanglement of perceived identities and a struggle to negotiate, contest, and redefine boundaries of public space. The raids, coupled with protests and counter demonstrations, produced a public spectacle that reinforces anti-immigrant connections between race and crime. Lastly, I apply and introduce Border Crit, a new and emerging theory I propose to better address research in the borderlands.
ContributorsMaldonado, Angeles (Author) / Swadener, Elizabeth B. (Thesis advisor) / Scott, Kimberly (Committee member) / Mckinley Jones Brayboy, Bryan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems from an interest in body-mind connectivity, body-mind-environment continuity, embodied epistemology and the implications of ethnography within artistic practice. The document begins with a theoretical grounding covering established research on theories of embodiment; ethnographic methodologies framing research conducted in South India including sensory ethnography, performance ethnography and autoethnography; and an explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant that emphasizes concepts of embodiment and body-mind-environment continuity uniquely inherent to these sciences. Following the theoretical grounding, the document provides an account of methods used in translating theoretical concepts and experiences emerging from research in India into the creation of the Entangled/Embraced dance work. Using dancer and audience member participation to inspire emergent meanings and maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts inspiring research interests, along with ideas emerging from within research experiences, in addition to philosophical standpoints embedded in the ethnographic methodologies chosen to conduct research, weave into the entire project of Entangled/Embraced to unite the phases of research and performance, ethnography and artistry.
ContributorsRamsey, Ashlee (Author) / Vissicaro, Pegge (Thesis advisor) / Standley, Eileen (Committee member) / Dove, Simon (Committee member) / Arizona State University (Publisher)
Created2012
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this project is to investigate the political aesthetics of Delilah Montoya's photographic landscape image, Desire Lines, Baboquivari Peak, Arizona (2004), an image drawn from a larger photo-documentary project by Montoya and Orlando Lara titled, Sed: Trail of Thirst (2004). This thesis employs Jacques Rancière's concept of the aesthetic regime to identify how Desire Lines functions as a political work of art, or what Rancière would consider "aesthetic art." This thesis shows that the political qualities of Desire Lines's work contrast with the aesthetic regime of art and systems in the U.S. nation state that have attempted to erase an indigenous presence. Thomás Ybarra-Frausto's and Amalia Mesa-Bains' definitions of Rasquachismo, as well as Gloria Anzalúda's concept of Nepantla, are used to assist in identifying the specific politics of Montoya's work. The first portion of this thesis investigates the image's political aesthetic within the context of the politics of art, and the second portion addresses the image's political qualities within the framework of the politics of the everyday life. This thesis shows that Desire Lines, Baboquivari Peak, Arizona reveals a Chicana/o aesthetic that challenges the dominant paradigm of postmodernism; furthermore, viewing the content of the image through the concept of Nepantla allows for a political reading which highlights the work's capacity to challenge the Eurocentric view of land in the U.S. Southwest. Desire Lines, Baboquivari Peak, Arizona is an indigenously oriented photograph, one which blurs the lines of the politics of art and the everyday and has the power to reconfigure our understanding of the U.S borderland as an indigenous palace of perseverance exemplifying the will to overcome.
ContributorsEsquivel, Mark (Author) / Malagamba, Amelia (Thesis advisor) / Swensen, Thomas (Committee member) / Garcia, Desirée (Committee member) / Arizona State University (Publisher)
Created2014
Description
Race is a complex system founded on social ideologies that categorize and evaluate human beings into different groups based on their visible characteristics (e.g., skin color) that, according to this notion of race, indicate a person's personal traits (e.g., intelligence). The concept of race has been an integral part of American society since the ratification of the United States Constitution in the late 18th century. Early on, the practice of race within American society established one particular group as the norm: the White Anglo-Saxon Protestant. By the late 19th and early 20th centuries, the distinctions among racial groups essentially came down to "white" and "nonwhite." Consequently, certain social inequalities were bestowed upon those groups that did not fit the model of the dominant "white" group. Autobiographies, especially those from marginalized groups, can serve as an important source of these social disparities since the author is able to recount their own social experiences vis-à-vis racial practices within society. With this in mind, this thesis analyses the concept of race in relation to the personal experiences of two authors through their respective autobiographies: Hunger of Memory: The Education of Richard Rodriguez (1982) by Richard Rodriguez and How Did You Get to Be Mexican?: A White/Brown Man's Search for Identity (1999) by Kevin R. Johnson. The critical work of Paula M. L. Moya, Linda Martín Alcoff, Hazel Rose Markus, George M. Fredrickson, Genaro M. Padilla and others are used as the theoretical framework in the literary analysis of these authors' texts. In summary, the results of this study demonstrate the concept of race as a salient aspect in regards to the ideological formation of each respective author.
ContributorsMancillas, Jorge E (Author) / Rosales, Jesus (Thesis advisor) / Hernández-Gutierrez, Manuel J (Thesis advisor) / Garcia-Fernandez, Carlos J (Committee member) / Arizona State University (Publisher)
Created2014
Description
In the university setting, when a person wants to conduct research that deals with human subjects, they are required to receive the approval of their Institutional Review Board (IRB). This process takes place to ensure the proposed research is ethical and poses minimal risks to the willing subject. In Indian Country, there is a growing trend where American Indian nations are taking control over regulating research that is conducted within their jurisdictional boundaries.
In my thesis, I discuss the historical background that has led to the IRBs academics are familiar within universities they see today. In addition, I discuss the body of literature that addresses IRBs, human subjects, and the debate on which research should or should not be regulated by universities. I will then, critically analyze the established research protocols that exist in Arizona American Indian tribes. I use Darrell Posey's (1996) idea of Community Controlled Research (CCR) as the framework for my analysis. CCR dictates the people of the community decide the ways in which research is conducted. The purpose of my research is to create recommendations that will assist and inform tribes how to either, strengthen their existing protocols, or create a research protocol that will promotes Community Controlled Research.
In my thesis, I discuss the historical background that has led to the IRBs academics are familiar within universities they see today. In addition, I discuss the body of literature that addresses IRBs, human subjects, and the debate on which research should or should not be regulated by universities. I will then, critically analyze the established research protocols that exist in Arizona American Indian tribes. I use Darrell Posey's (1996) idea of Community Controlled Research (CCR) as the framework for my analysis. CCR dictates the people of the community decide the ways in which research is conducted. The purpose of my research is to create recommendations that will assist and inform tribes how to either, strengthen their existing protocols, or create a research protocol that will promotes Community Controlled Research.
ContributorsTom, Naomi (Author) / Vicenti Carpio, Myla (Thesis advisor) / Killsback, Leo (Committee member) / Tippeconnic, John (Committee member) / Arizona State University (Publisher)
Created2015
Description
This research examined the perceptions of refugees towards social entrepreneurship in Arizona through focus group discussions with 77 members of the refugee communities that have been organized under nine groups. Business experience, problem solving experience, conception of social entrepreneurship, examples, opportunities, support, and needs emerged as the themes of the study. Available opportunities as well as barriers for refugee social entrepreneurship based on the views of refugees in Arizona were explained. The difference between commercial entrepreneurship and social entrepreneurship was highlighted and some examples of refugee social entrepreneurship described. Qualitative data analysis revealed that refugees in Arizona have entrepreneurial characteristics such as risk taking, hardworking, problem solving, and determination. They also have a good understanding of commercial entrepreneurship but very little understanding of social entrepreneurship. The findings underlined that social entrepreneurship can be used as a helpful strategy for self-sufficiency of refugees residing in Arizona. Given their life trajectories, refugees in Arizona have high potential to be social entrepreneurs with the right exposure and training. If supported adequately and planned appropriately, the refugee social entrepreneurship project can lead to self-sufficiency and faster integration of participating individuals to the mainstream society. The findings may spark interest among practitioners, policy makers, and scholars. It may redefine refugee social work practices as the passion of enterprising empowers refugees and helps them to discover self-confidence and rebrand their image. Policy makers may consider incorporating refugee social entrepreneurship in to the current self-sufficiency plan for refugee resettlement. Future research needs to investigate how refugee social entrepreneurs can be successful and focus on the measurement of their success.
ContributorsMerie, Kassaw (Author) / Androff, David (Thesis advisor) / Klimek, Barbara (Committee member) / Krysik, Judy (Committee member) / Arizona State University (Publisher)
Created2015